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Darren (1599 KP) rated Swingers (1996) in Movies
Nov 24, 2019
Verdict: Reality Check Comedy
Story: Swingers starts when two friends Trent (Vaughn) and Mike (Favreau) head from LA to Las Vegas for a night to try and help Mike shake off his breakup with his girlfriend. Trent does have a way with women, which he is trying to teach Mike for their return to LA. Joined with Rob (Livingston) the three struggling actors talk shop about how they haven’t gotten their big break yet.
We continue to follow the friends around the town as they try to help Mike rebound from his breakup, pushing him to take risks, despite the group of aspiring actors just going through the same routine, not partying till late and Mike wanting to get back together with his ex.
Thoughts on Swingers
Characters – Mike is one of the aspiring actors, he has had the most gigs of the rest of the friends, he is struggling with a break up which has been holding him back for 6 months and now, the friends are trying to help him break out of his shell, as he always ends up getting nervous about everything whenever he is put on the spot. Trent is the confident ladies man, he is always trying to teach Mike about how to pick up women, showing his confidence through any chatting up situation. Rob is the friend that followed Mike, he looks up to him and wants to follow in his footsteps despite the constant job rejections. Sue is another one of the group, he has a different attitude which could see them getting into trouble. Between the three of them of the friends they all want to help Mike in their own way.
Performances – Jon Favreau as the down on his luck actor is great to watch in this role, he makes us understand why he feels life isn’t going his way. Vince Vaughn brings all the energy to his role, showing that he was always going to be great to watch in the fast-talking roles. Ron Livingston bring gravity to his role, showing a man with his feet on the ground, while Patrick Van Horn brings a mix of the three while not knowing his own motivation.
Story – The story here follows four struggling actors as they look for women every night which sees them trying to help one of them get over their blues of a breakup, each has their own style which they try to imprint on the others. This story mixes up the styles of helping a friend with a breakup and highlights how difficult it is to make it as an actor in Hollywood. We might spend a lot of time just watching the guys party, which is mean to highlight their struggles and watching them all give advice to Mike shows that friends will always be there for you, but you will need to make the biggest step in changing your future.
Comedy – The comedy in the film comes from the mishaps that happen to the guys on their adventures through the night showing how not every plan is as well exercised as the next.
Settings – The film is mostly set in LA, it shows the bars that people would go to hoping for a late night party, the ones that only the locals would truly know about.
Scene of the Movie – The awkward phone, mainly because it is and can be so real for people.
That Moment That Annoyed Me – It doesn’t show any of their acting lives.
Final Thoughts – This is a comedy that shows the struggles being an actor really are, while also trying to highlight the party lifestyle people in LA like.
Overall: Strong Look at Hollywood Lifestyle.
Story: Swingers starts when two friends Trent (Vaughn) and Mike (Favreau) head from LA to Las Vegas for a night to try and help Mike shake off his breakup with his girlfriend. Trent does have a way with women, which he is trying to teach Mike for their return to LA. Joined with Rob (Livingston) the three struggling actors talk shop about how they haven’t gotten their big break yet.
We continue to follow the friends around the town as they try to help Mike rebound from his breakup, pushing him to take risks, despite the group of aspiring actors just going through the same routine, not partying till late and Mike wanting to get back together with his ex.
Thoughts on Swingers
Characters – Mike is one of the aspiring actors, he has had the most gigs of the rest of the friends, he is struggling with a break up which has been holding him back for 6 months and now, the friends are trying to help him break out of his shell, as he always ends up getting nervous about everything whenever he is put on the spot. Trent is the confident ladies man, he is always trying to teach Mike about how to pick up women, showing his confidence through any chatting up situation. Rob is the friend that followed Mike, he looks up to him and wants to follow in his footsteps despite the constant job rejections. Sue is another one of the group, he has a different attitude which could see them getting into trouble. Between the three of them of the friends they all want to help Mike in their own way.
Performances – Jon Favreau as the down on his luck actor is great to watch in this role, he makes us understand why he feels life isn’t going his way. Vince Vaughn brings all the energy to his role, showing that he was always going to be great to watch in the fast-talking roles. Ron Livingston bring gravity to his role, showing a man with his feet on the ground, while Patrick Van Horn brings a mix of the three while not knowing his own motivation.
Story – The story here follows four struggling actors as they look for women every night which sees them trying to help one of them get over their blues of a breakup, each has their own style which they try to imprint on the others. This story mixes up the styles of helping a friend with a breakup and highlights how difficult it is to make it as an actor in Hollywood. We might spend a lot of time just watching the guys party, which is mean to highlight their struggles and watching them all give advice to Mike shows that friends will always be there for you, but you will need to make the biggest step in changing your future.
Comedy – The comedy in the film comes from the mishaps that happen to the guys on their adventures through the night showing how not every plan is as well exercised as the next.
Settings – The film is mostly set in LA, it shows the bars that people would go to hoping for a late night party, the ones that only the locals would truly know about.
Scene of the Movie – The awkward phone, mainly because it is and can be so real for people.
That Moment That Annoyed Me – It doesn’t show any of their acting lives.
Final Thoughts – This is a comedy that shows the struggles being an actor really are, while also trying to highlight the party lifestyle people in LA like.
Overall: Strong Look at Hollywood Lifestyle.
Bob Mann (459 KP) rated The Two Popes (2019) in Movies
Jan 26, 2020 (Updated Jan 26, 2020)
Fantastic performances from two old acting pros.
Being inaugurated as a new pope in the last century must have been a source of enormous pride. But there must also have been a nagging thought... at some point you are going to be paraded, stiff as a board, around your work courtyard before being taken back inside to your place of work and buried there!
All that changed in 2013 when Pope Benedict XVI resigned, the first pope to voluntarily do so since Pope Celestine V in 1294. (Pope Gregory XII also resigned in 1415, but he was effectively forced to).
This movie tells the story of that curious situation, when Cardinal Jorge Bergoglio (played by Jonathan Pryce) ended up as Pope Francis while Benedict (Anthony Hopkins) was still alive. The official reason for the pope's resignation appears to have been his advanced age. But the film paints a rather different picture.
The movie starts back in 2005 as we enter the papal conclave. Benedict (Cardinal Ratzinger, as was) is the highly-political German cardinal who desperately wants the papacy; Bergoglio is the highly respected Argentinian cardinal who doesn't seek the office but might have it thrust upon him. (Clearly, when the white smoke clears, history has dictated the outcome).
But flash forward to 2013 and Bergoglio will get another bite of the cherry. Is he worthy of the role? Through flashbacks we return to Perón's unsettling rule over Argentina and the events that made the man.
The two stars are simply outstanding together, and it's no surprise at all that both have been nominated in the Oscar acting categories. They are almost joint leads. But - perhaps to give the film its best awards-season shot - Pryce is down for Best Actor and Hopkins is down for Best Supporting Actor.
Anthony Hopkins in particular for me shone with the brilliant quietness and subtle facial movements that are the mark of a truly confident actor. Less is more.
I was enjoying this movie enormously up until we flashed back to the Argentinian sub-plot. Set in the time of Perón's "Dirty War" when a huge number of people - estimates range from 9,000 to 30,000 - simply went "missing". There's nothing wrong with this sequence of the film. For example, a reunion of Bergoglio with a persecuted priest, Father Jalics (Lisandro Fiks) - is brilliantly and movingly done. It's just that for me it seemed so disjointed. It was jarring to switch from this Evita-era drama to the gentle drama of the papal plot.
If the movie had been 30 minutes shorter and focused on the mental struggles of Benedict I would have preferred it. Curiously - we don't really get to fully understand his divergence from the faith. Bergoglio gets no end of back-story. But Ratzinger's is probably just as interesting, but not explored.
This is still a really fine movie and will appeal to older folks who like a story rich with character acting and not heavy on the action or special effects. The director is Fernando Meirelles (who interestingly directed the Rio Olympics opening ceremony!) and it's written by Anthony McCarten, the man behind the screenplays for "The Theory of Everything", "Darkest Hour" and "Bohemian Rhapsody".
You may still be able to find this in selected cinemas (e.g. Curzon) but it is also streaming on Netflix, which is where I had to watch it.
(For the full graphical review, please check out One Mann's Movies at https://bob-the-movie-man.com/2020/01/26/one-manns-movies-film-review-the-two-popes-2019/ ).
All that changed in 2013 when Pope Benedict XVI resigned, the first pope to voluntarily do so since Pope Celestine V in 1294. (Pope Gregory XII also resigned in 1415, but he was effectively forced to).
This movie tells the story of that curious situation, when Cardinal Jorge Bergoglio (played by Jonathan Pryce) ended up as Pope Francis while Benedict (Anthony Hopkins) was still alive. The official reason for the pope's resignation appears to have been his advanced age. But the film paints a rather different picture.
The movie starts back in 2005 as we enter the papal conclave. Benedict (Cardinal Ratzinger, as was) is the highly-political German cardinal who desperately wants the papacy; Bergoglio is the highly respected Argentinian cardinal who doesn't seek the office but might have it thrust upon him. (Clearly, when the white smoke clears, history has dictated the outcome).
But flash forward to 2013 and Bergoglio will get another bite of the cherry. Is he worthy of the role? Through flashbacks we return to Perón's unsettling rule over Argentina and the events that made the man.
The two stars are simply outstanding together, and it's no surprise at all that both have been nominated in the Oscar acting categories. They are almost joint leads. But - perhaps to give the film its best awards-season shot - Pryce is down for Best Actor and Hopkins is down for Best Supporting Actor.
Anthony Hopkins in particular for me shone with the brilliant quietness and subtle facial movements that are the mark of a truly confident actor. Less is more.
I was enjoying this movie enormously up until we flashed back to the Argentinian sub-plot. Set in the time of Perón's "Dirty War" when a huge number of people - estimates range from 9,000 to 30,000 - simply went "missing". There's nothing wrong with this sequence of the film. For example, a reunion of Bergoglio with a persecuted priest, Father Jalics (Lisandro Fiks) - is brilliantly and movingly done. It's just that for me it seemed so disjointed. It was jarring to switch from this Evita-era drama to the gentle drama of the papal plot.
If the movie had been 30 minutes shorter and focused on the mental struggles of Benedict I would have preferred it. Curiously - we don't really get to fully understand his divergence from the faith. Bergoglio gets no end of back-story. But Ratzinger's is probably just as interesting, but not explored.
This is still a really fine movie and will appeal to older folks who like a story rich with character acting and not heavy on the action or special effects. The director is Fernando Meirelles (who interestingly directed the Rio Olympics opening ceremony!) and it's written by Anthony McCarten, the man behind the screenplays for "The Theory of Everything", "Darkest Hour" and "Bohemian Rhapsody".
You may still be able to find this in selected cinemas (e.g. Curzon) but it is also streaming on Netflix, which is where I had to watch it.
(For the full graphical review, please check out One Mann's Movies at https://bob-the-movie-man.com/2020/01/26/one-manns-movies-film-review-the-two-popes-2019/ ).
BankofMarquis (1832 KP) rated Mister Roberts (1955) in Movies
Apr 10, 2020
Well Acted
A staple of Old Hollywood under the Studio System was to adapt to the film Broadway shows that were a big hit. One such hit was the 1948 WWII play MISTER ROBERTS starring Henry Fonda (who would win a Tony Award for his performance).
In 1955, Paramount Studios mounted a film production of MISTER ROBERTS starring Fonda, James Cagney (in his last film role for Paramount - who he had been under contract to for 25 years), William Powell (in his last film role) and a young "up-and-comer" by the name of Jack Lemon.
Set in the waning days of World War II aboard a "cargo vessel", MISTER ROBERTS tells the tale of...well...Mister Roberts, the cargo officer who is keeping the ship afloat - serving as a buffer between the crew and the tyrannical Captain. Roberts longs for one thing - to join the war on a battleship, but the Captain knows his success is dependent on Roberts.
Paramount considered Fonda too old for the role, so they sought out younger stars like Marlon Brando and William Holden, but Director John Ford insisted on Fonda - and a wise choice it was. Fonda's easy-going natural personality - tinged with anger and regret - is perfectly suited for this role. He is just as at home joking around with the sailors as he is going mano-a-mano with the Captain. Also perfectly cast is the great James Cagney as the Captain who is only concerned about 1 thing - how he is perceived by the higher ups in the Navy. The conflict between Cagney and Fonda is dynamite and it is worth the price of admission just to watch these 2 Hollywood heavyweights go at it.
Jack Lemon won his first Oscar (as Best Supporting Actor) for portraying Mr. Roberts bunkmate, Ensign Pulver. It is a perfect match of character and actor and you can see where the greatness that is Jack Lemon (an under-rated actor) stems from. The surprise to me at this viewing was the strong work of William Powell (THE THIN MAN movie series) as Doc, the best friend of Mr. Roberts aboard the ship. He has an ease and rapport with Fonda and when Fonda, Powell and Lemon share the screen together the film sparkles.
And that's the best part - and the worst part - of this great film. It looks like a filmed stage play. Veteran Director John Ford looks like he was "mailing it in" on this one, in that he would just put his camera in one stationary position and let his actors play the scenes like they were in a play. This is either laziness - or genius - at the hands of Ford (I would argue probably a little of each). He was wise enough to know he had some incredible talent (Fonda, Cagney, Powell and Lemon) - and a strong script by Frank S. Nugent and Joshua Logan (based on the stage play by Logan and Thomas Hagen...based on Hagen's book), so he stayed out of the way as much as possible.
Consequently, the first part of this film is a bit talky and stagey looking and drags just a bit, but once the film catches it's steam - and these 4 stars light up the screen - this film is well worth watching.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
P.S.: I caught Mister Roberts on the great cable channel TURNER CLASSIC MOVIES - but (as far as I can tell) it's not scheduled to be re-run there anytime soon (and is not streamable on the Watch TCM app), so you'll need to rent it at all the "normal" places (YouTube, GoogePLay, iTunes and Vudu)
In 1955, Paramount Studios mounted a film production of MISTER ROBERTS starring Fonda, James Cagney (in his last film role for Paramount - who he had been under contract to for 25 years), William Powell (in his last film role) and a young "up-and-comer" by the name of Jack Lemon.
Set in the waning days of World War II aboard a "cargo vessel", MISTER ROBERTS tells the tale of...well...Mister Roberts, the cargo officer who is keeping the ship afloat - serving as a buffer between the crew and the tyrannical Captain. Roberts longs for one thing - to join the war on a battleship, but the Captain knows his success is dependent on Roberts.
Paramount considered Fonda too old for the role, so they sought out younger stars like Marlon Brando and William Holden, but Director John Ford insisted on Fonda - and a wise choice it was. Fonda's easy-going natural personality - tinged with anger and regret - is perfectly suited for this role. He is just as at home joking around with the sailors as he is going mano-a-mano with the Captain. Also perfectly cast is the great James Cagney as the Captain who is only concerned about 1 thing - how he is perceived by the higher ups in the Navy. The conflict between Cagney and Fonda is dynamite and it is worth the price of admission just to watch these 2 Hollywood heavyweights go at it.
Jack Lemon won his first Oscar (as Best Supporting Actor) for portraying Mr. Roberts bunkmate, Ensign Pulver. It is a perfect match of character and actor and you can see where the greatness that is Jack Lemon (an under-rated actor) stems from. The surprise to me at this viewing was the strong work of William Powell (THE THIN MAN movie series) as Doc, the best friend of Mr. Roberts aboard the ship. He has an ease and rapport with Fonda and when Fonda, Powell and Lemon share the screen together the film sparkles.
And that's the best part - and the worst part - of this great film. It looks like a filmed stage play. Veteran Director John Ford looks like he was "mailing it in" on this one, in that he would just put his camera in one stationary position and let his actors play the scenes like they were in a play. This is either laziness - or genius - at the hands of Ford (I would argue probably a little of each). He was wise enough to know he had some incredible talent (Fonda, Cagney, Powell and Lemon) - and a strong script by Frank S. Nugent and Joshua Logan (based on the stage play by Logan and Thomas Hagen...based on Hagen's book), so he stayed out of the way as much as possible.
Consequently, the first part of this film is a bit talky and stagey looking and drags just a bit, but once the film catches it's steam - and these 4 stars light up the screen - this film is well worth watching.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
P.S.: I caught Mister Roberts on the great cable channel TURNER CLASSIC MOVIES - but (as far as I can tell) it's not scheduled to be re-run there anytime soon (and is not streamable on the Watch TCM app), so you'll need to rent it at all the "normal" places (YouTube, GoogePLay, iTunes and Vudu)
BankofMarquis (1832 KP) rated Wrath of Man (2021) in Movies
Jun 16, 2021
Surprising Depth of Character and GREAT action
I am always up for a good “B” action flick - something mindless that shows a macho hero (usually seeking revenge) taking out a boatload of faceless/nameless bad guys. So it was with much anticipation that I settled back into my chair to clear my head and catch Jason Statham doing what he does best.
What I got was something much, much more.
Directed by Guy Ritchie (LOCK, STOCK AND TWO SMOKING BARRELS), WRATH OF MAN tells the tale of seemingly innocent, meek, quiet man who takes a job with an Armored Car Company. Of course, since this meek man is played with a steely-eyed gaze by Jason Statham, there is something more to him. In the course of this film, of course, we find out.
Ritchie is a seasoned veteran Director of these sorts of films (LOCK STOCK…, SNATCH and the recent THE GENTLEMEN being examples of his ability) and this film nicely showcases his skill. He sets up the characters and the action scenes deftly and he does something that I really love to see in a film - he shows the same action scene from 3 different character's’ perspectives, every time we view the same scene from a different point of view it adds some depth to the scene (and the characters). It is this aspect of the film - the depth of character - that I was not expecting to see.
Statham, of course, is perfectly cast as the mysterious “H”. He has a strength of character (as well as a physical strength) needed to drive this story forward. I believed his motivations as a character while eagerly anticipating his “turn on a dime” change from “meek and mild” to “action hero”. In lesser hands, it would have seemed corny, but with Statham (and the direction of Ritchie), it is not.
Ritchie, of course, fills this world with a “rogues gallery” of tough guys, henchmen, unlikely heroes and villians. Standouts of this group were veteran character actor Holt McCallany (a veritable “that guy” actor) who plays a fellow armored car driver, Jeffrey Donovan (TV’s BURN NOTICE) and Scott Eastwood (Clint’s son) as a couple of “bad guys” and Darrell D’Silva (a veteran of European films who was heretofore unknown to me) as one of Statham’s allies. Whenever D’Silva was on the screen, he would draw my attention (in a good way). I’ll be keeping an eye out for him in future films.
Also along for the fun are the great Eddie Marsan (as the Manager of the Armored Car Company) and a gravelly voiced Andy Garcia (as a shadowy person from Statham’s past). They both know exactly what type of film they are in and look like they are having fun with their roles. Oh…and there is also a Josh Hartnett sighting (the “it” actor of the early ‘2000’s). His character of another Armored Car Driver is the weakest written and least realized of the characters in this film - but it was fun to see him on screen again.
But…all of these fine qualities rise or fall on the Direction of the action sequences and in the capable hands of Guy Ritchie, these scenes succeed greatly. He sets up and choreographs the fights (both hand-to-hand and gun fights) in such a way that the audience is never confused about what is going on (unless it is a deliberate choice) and he eschews the quick-cut editing that (I feel) is a sign of a weakly conceived and choreographed fight.
I was pleasantly surprised by how much I enjoyed this film - not only for the action, but for the depth of character and quality that was put up on the screen.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
What I got was something much, much more.
Directed by Guy Ritchie (LOCK, STOCK AND TWO SMOKING BARRELS), WRATH OF MAN tells the tale of seemingly innocent, meek, quiet man who takes a job with an Armored Car Company. Of course, since this meek man is played with a steely-eyed gaze by Jason Statham, there is something more to him. In the course of this film, of course, we find out.
Ritchie is a seasoned veteran Director of these sorts of films (LOCK STOCK…, SNATCH and the recent THE GENTLEMEN being examples of his ability) and this film nicely showcases his skill. He sets up the characters and the action scenes deftly and he does something that I really love to see in a film - he shows the same action scene from 3 different character's’ perspectives, every time we view the same scene from a different point of view it adds some depth to the scene (and the characters). It is this aspect of the film - the depth of character - that I was not expecting to see.
Statham, of course, is perfectly cast as the mysterious “H”. He has a strength of character (as well as a physical strength) needed to drive this story forward. I believed his motivations as a character while eagerly anticipating his “turn on a dime” change from “meek and mild” to “action hero”. In lesser hands, it would have seemed corny, but with Statham (and the direction of Ritchie), it is not.
Ritchie, of course, fills this world with a “rogues gallery” of tough guys, henchmen, unlikely heroes and villians. Standouts of this group were veteran character actor Holt McCallany (a veritable “that guy” actor) who plays a fellow armored car driver, Jeffrey Donovan (TV’s BURN NOTICE) and Scott Eastwood (Clint’s son) as a couple of “bad guys” and Darrell D’Silva (a veteran of European films who was heretofore unknown to me) as one of Statham’s allies. Whenever D’Silva was on the screen, he would draw my attention (in a good way). I’ll be keeping an eye out for him in future films.
Also along for the fun are the great Eddie Marsan (as the Manager of the Armored Car Company) and a gravelly voiced Andy Garcia (as a shadowy person from Statham’s past). They both know exactly what type of film they are in and look like they are having fun with their roles. Oh…and there is also a Josh Hartnett sighting (the “it” actor of the early ‘2000’s). His character of another Armored Car Driver is the weakest written and least realized of the characters in this film - but it was fun to see him on screen again.
But…all of these fine qualities rise or fall on the Direction of the action sequences and in the capable hands of Guy Ritchie, these scenes succeed greatly. He sets up and choreographs the fights (both hand-to-hand and gun fights) in such a way that the audience is never confused about what is going on (unless it is a deliberate choice) and he eschews the quick-cut editing that (I feel) is a sign of a weakly conceived and choreographed fight.
I was pleasantly surprised by how much I enjoyed this film - not only for the action, but for the depth of character and quality that was put up on the screen.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Kirk Bage (1775 KP) rated Good Time (2017) in Movies
Jan 22, 2021
Here is another example of a very watchable low budget film that may have passed by your radar undetected. It came to my attention in two ways. The first because I disliked Uncut Gems so much folk started telling me to watch Good Time to get a better idea of what the Safdie brothers were all about. The second because Robert Pattinson kept popping up and being good in things, when again, there was a time I wouldn’t have thought that possible.
Josh and Benny Safdie have a lot of energy as filmmakers it seems; if the two films I’ve seen so far indicate a motif then it is people forced to act without much thought when the stakes are pretty much life and death. A raw, desperate energy exists in their work that comes straight at you through the screen. In Uncut Gems I found they pushed that feeling too hard, and what we were left with was a massively uncomfortable experience that felt like drinking too much coffee and then being screamed at by someone you hated. Good Time tempers that a little by having a protagonist whose motives you can at least identify with, played by a better, less shouty, more subtle and more likeable actor.
The plot revolves around Pattinson’s Connie frantically trying to find and save his mentally challenged brother, Nick, played by co-director Benny Safdie, after forcing him to participate in a bank robbery that goes wrong. Safdie as an actor is superb and memorable in the role, as is Pattinson. The chemistry between the two is simultaneously edgy, heartbreaking and somehow genuine. You believe they are brothers and invest in it – feeling Nick’s guilt and need to atone driving every bad decision along the grimy path he treads through the seedier parts of the city.
The camerawork and direction make the lights and sounds of the city a character in itself. It may not be true, but I see this film in my head, now as I think of it, as being 90% at night, lit by flashing headlights. Certainly that feel of running head-on into traffic is a big part of it. But there are slower, more sensitive scenes that spring to mind too. Constantly we are being asked if we can forgive Nick, or at least understand why he is making the choices he is making. Essentially he wants the panic to stop, but can’t ever get himself to a place of peace. An idea beautifully illustrated in the scenes involving the female characters of Corey and Crystal (the former played by Jennifer Jason Leigh with typical edge); Nick wants to be loved and respected, but how will that ever be possible?
Contrasting Pattinson’s work here with other recent efforts, including Tenet, The Lighthouse and The Lost City of Z, you can see an impressive range where his true personality disappears into his character. Something not every actor can do by any means, and something Adam Sandler failed to do in Uncut Gems, for example. I continue to be more impressed by him from film to film, to the extent that if I saw him in a cast it would be reason enough to see something. He has that ability to make an average film watchable, often being the best thing about the project. And I have to admit that has surprised me. But I like Kristen Stewart too these days, so it just shows how much the Twilight franchise has to answer for!
I wouldn’t go mad recommending this to everyone, but there is a time and a place for it, and I’m pleased I can appreciate the talent and potential the Safdie Brothers have inherently. There certainly aren’t enough young filmmakers taking risks in this way any more. It wouldn’t surprise me at all to see their formula strike true gold before too long.
Josh and Benny Safdie have a lot of energy as filmmakers it seems; if the two films I’ve seen so far indicate a motif then it is people forced to act without much thought when the stakes are pretty much life and death. A raw, desperate energy exists in their work that comes straight at you through the screen. In Uncut Gems I found they pushed that feeling too hard, and what we were left with was a massively uncomfortable experience that felt like drinking too much coffee and then being screamed at by someone you hated. Good Time tempers that a little by having a protagonist whose motives you can at least identify with, played by a better, less shouty, more subtle and more likeable actor.
The plot revolves around Pattinson’s Connie frantically trying to find and save his mentally challenged brother, Nick, played by co-director Benny Safdie, after forcing him to participate in a bank robbery that goes wrong. Safdie as an actor is superb and memorable in the role, as is Pattinson. The chemistry between the two is simultaneously edgy, heartbreaking and somehow genuine. You believe they are brothers and invest in it – feeling Nick’s guilt and need to atone driving every bad decision along the grimy path he treads through the seedier parts of the city.
The camerawork and direction make the lights and sounds of the city a character in itself. It may not be true, but I see this film in my head, now as I think of it, as being 90% at night, lit by flashing headlights. Certainly that feel of running head-on into traffic is a big part of it. But there are slower, more sensitive scenes that spring to mind too. Constantly we are being asked if we can forgive Nick, or at least understand why he is making the choices he is making. Essentially he wants the panic to stop, but can’t ever get himself to a place of peace. An idea beautifully illustrated in the scenes involving the female characters of Corey and Crystal (the former played by Jennifer Jason Leigh with typical edge); Nick wants to be loved and respected, but how will that ever be possible?
Contrasting Pattinson’s work here with other recent efforts, including Tenet, The Lighthouse and The Lost City of Z, you can see an impressive range where his true personality disappears into his character. Something not every actor can do by any means, and something Adam Sandler failed to do in Uncut Gems, for example. I continue to be more impressed by him from film to film, to the extent that if I saw him in a cast it would be reason enough to see something. He has that ability to make an average film watchable, often being the best thing about the project. And I have to admit that has surprised me. But I like Kristen Stewart too these days, so it just shows how much the Twilight franchise has to answer for!
I wouldn’t go mad recommending this to everyone, but there is a time and a place for it, and I’m pleased I can appreciate the talent and potential the Safdie Brothers have inherently. There certainly aren’t enough young filmmakers taking risks in this way any more. It wouldn’t surprise me at all to see their formula strike true gold before too long.
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Bob Mann (459 KP) rated Molly's Game (2017) in Movies
Sep 29, 2021
Wordy but entertaining.
You can never accuse Aaron Sorkin of skimping on his words. Sorkin is of course the award-winning writer of “The West Wing” but on the big screen he has also written many classics: “A Few Good Men”; “The Social Network” and “Steve Jobs” for example. Here he also makes his directorial debut in a movie about the true-life turbulent career of Olympic wannabe skier Molly Bloom.
Bloom is played by Jessica Chastain, from films such as “Zero Dark Thirty” and “Miss Sloane” (one of my films of the year last year). Chastain’s roles as an actress are often quite cold and calculating, as suits her demeanour. As such her characters are not often easy to warm to in movies (and as such, my wife is not a fan).
Taking the piste. Molly in her younger ski-centric role.
Here as Molly Bloom she is as equally driven as in “Miss Sloane“, but the drive is learned from her father (Kevin Costner), bullying her to be the best she can be at skiing in a highly competitive family. Forced out of the skiing business (for reasons I won’t spoil), she takes a “gap year” from law school that turns into a “gap life” after she falls into the slightly shady business of running poker nights for LA’s rich elite. It’s here that Chastain’s Bloom is able to show a gentler and more compassionate side, trying to talk some of her clients (who invariably fall in love with her) off the ledge of their gambling addiction.
Chris O’Dowd as one of the punter’s in deep.
Sorkin’s script (based on Molly’s own autobiography, I should add) does a really nice job of cutting backwards and forwards through Molly’s timeline to drill into motivations and her mental state, and in doing so he pulls out an award-winning (or at least Golden-Globe award-nominating) performance from Chastain in the process. Also very effective though is Kevin Costner (“Hidden Figures“, “Man of Steel“), who is quietly building an impressive portfolio of supporting actor roles. Here he rather dials in his “tough and aloof guy” performance until the park bench scene (below) where he surprises in a good way.
Benches with wolves. Kevin Costner impressive as Molly’s hard-line father.
It’s also a blessed relief to find a decent vehicle to showcase the undoubted talents of Britain’s Idris Elba – an actor who has been woefully served by rubbish such as “Bastille Day“, rather lame sequels like “Star Trek: Beyond” or minor roles such as in “Thor: Ragnarok“. Here he can really get his teeth into the role of Molly’s lawyer, with a multi-layered character that reveals a little – but not too much of – his back-story to leave you with intriguing questions.
An indecisive Charlie Jaffey (Idris Elba) can make his mind up about Molly (Jessica Chastain).
So it’s a good film, but an intelligent watch that mandates your attention. The script is sufficiently dense and wordy that it requires significant concentration: this is not a “park your brain at the door” type of ‘Michael Bay film’. (As such, while it remains a recommended watch, I’m not sure it would be one that would necessarily make my DVD list for repeat watchings).
Michael Cera (centre) as the mysterious but powerful “Player X”; a Hollywood actor, but who is he supposed to be? (Answers on a postcard!).
But again, I must comment on what an amazing year this is turning out to be for women in film. Less #Me-too and more #She-do! Once again, here is a movie where a confident woman is firmly in the driving seat, and while powerful men try to bring her down, it is not them that succeeds. (The studio bill for talent in the past year must be a LOT less than it was the year before! #don’tshootme #topicalhumour #CarrieGracey). #TimesUp.
Bloom is played by Jessica Chastain, from films such as “Zero Dark Thirty” and “Miss Sloane” (one of my films of the year last year). Chastain’s roles as an actress are often quite cold and calculating, as suits her demeanour. As such her characters are not often easy to warm to in movies (and as such, my wife is not a fan).
Taking the piste. Molly in her younger ski-centric role.
Here as Molly Bloom she is as equally driven as in “Miss Sloane“, but the drive is learned from her father (Kevin Costner), bullying her to be the best she can be at skiing in a highly competitive family. Forced out of the skiing business (for reasons I won’t spoil), she takes a “gap year” from law school that turns into a “gap life” after she falls into the slightly shady business of running poker nights for LA’s rich elite. It’s here that Chastain’s Bloom is able to show a gentler and more compassionate side, trying to talk some of her clients (who invariably fall in love with her) off the ledge of their gambling addiction.
Chris O’Dowd as one of the punter’s in deep.
Sorkin’s script (based on Molly’s own autobiography, I should add) does a really nice job of cutting backwards and forwards through Molly’s timeline to drill into motivations and her mental state, and in doing so he pulls out an award-winning (or at least Golden-Globe award-nominating) performance from Chastain in the process. Also very effective though is Kevin Costner (“Hidden Figures“, “Man of Steel“), who is quietly building an impressive portfolio of supporting actor roles. Here he rather dials in his “tough and aloof guy” performance until the park bench scene (below) where he surprises in a good way.
Benches with wolves. Kevin Costner impressive as Molly’s hard-line father.
It’s also a blessed relief to find a decent vehicle to showcase the undoubted talents of Britain’s Idris Elba – an actor who has been woefully served by rubbish such as “Bastille Day“, rather lame sequels like “Star Trek: Beyond” or minor roles such as in “Thor: Ragnarok“. Here he can really get his teeth into the role of Molly’s lawyer, with a multi-layered character that reveals a little – but not too much of – his back-story to leave you with intriguing questions.
An indecisive Charlie Jaffey (Idris Elba) can make his mind up about Molly (Jessica Chastain).
So it’s a good film, but an intelligent watch that mandates your attention. The script is sufficiently dense and wordy that it requires significant concentration: this is not a “park your brain at the door” type of ‘Michael Bay film’. (As such, while it remains a recommended watch, I’m not sure it would be one that would necessarily make my DVD list for repeat watchings).
Michael Cera (centre) as the mysterious but powerful “Player X”; a Hollywood actor, but who is he supposed to be? (Answers on a postcard!).
But again, I must comment on what an amazing year this is turning out to be for women in film. Less #Me-too and more #She-do! Once again, here is a movie where a confident woman is firmly in the driving seat, and while powerful men try to bring her down, it is not them that succeeds. (The studio bill for talent in the past year must be a LOT less than it was the year before! #don’tshootme #topicalhumour #CarrieGracey). #TimesUp.
BankofMarquis (1832 KP) rated The Prestige (2006) in Movies
Mar 22, 2018
Underrated and underseen gem
Along with INSOMNIA, the 2006 film that Nolan directed, THE PRESTIGE is probably one of his least known and least viewed films and that is too bad for it is a wonderful motion picture that proves he is a strong director with a strong vision.
Dubbed "The Warring Magicians" film, THE PRESTIGE stars Christian Bale and Hugh Jackman as two 19th Century Magicians who are...well...at war with each other. Of course, they started out as partners, but soon became enemies, each trying to out do each other and to discover the other magician's secrets.
Cleverly written by Nolan and his frequent collaborator, his brother Jonathan Nolan - and based on the novel by Christopher Priest, THE PRESTIGE will keep you guessing throughout, trying to figure out "how they did it" and are constantly being surprised by double turns, back stabbing and second guessing.
Bale, by this time in his career, has established himself as a powerful actor - and he shines here. Joining Bale is Nolan regular Michael Caine as the mentor of the two magicians, a young-ish Scarlett Johannsen as a a woman who falls in love with both of them (of course) and Rebecca Hall and Piper Perabo as Bale's and Jackman's wives, respectively. But...the surprise to me in this film when I first saw it - and again when I recently re-viewed it - is the performance of Hugh Jackman. This film shows that Jackman is more than just Wolverine - that dude can act. As a magician, he is showing glimpses of being "THE GREATEST SHOWMAN" (but that is another movie for another day) and more than holds his own against a fierce Bale. Finally...special notice needs to be made to the actor who portrays inventor Nikola Tesla - perfectly cast in this role is Ziggy Stardust himself, David Bowie. It's a shame that Bowie did not act in more films for he captures the screen in the brief appearances he makes in this film.
As for Nolan - he is now coming into his own as a Director. The action is fast paced, the twists and turns are "honestly" played, the composition of the pictures on the screen are interesting and beautiful to look at and I walked away satisfied.
If you haven't seen THE PRESTIGE (or if you haven't seen it in awhile) - check this one out. You'll be glad you did.
Letter Grade: A (and...that's a surprise to me, I figured it would be a B+/A- film)
9 (out of 10) stars and you can take that to the Bank (ofMarquis)
Dubbed "The Warring Magicians" film, THE PRESTIGE stars Christian Bale and Hugh Jackman as two 19th Century Magicians who are...well...at war with each other. Of course, they started out as partners, but soon became enemies, each trying to out do each other and to discover the other magician's secrets.
Cleverly written by Nolan and his frequent collaborator, his brother Jonathan Nolan - and based on the novel by Christopher Priest, THE PRESTIGE will keep you guessing throughout, trying to figure out "how they did it" and are constantly being surprised by double turns, back stabbing and second guessing.
Bale, by this time in his career, has established himself as a powerful actor - and he shines here. Joining Bale is Nolan regular Michael Caine as the mentor of the two magicians, a young-ish Scarlett Johannsen as a a woman who falls in love with both of them (of course) and Rebecca Hall and Piper Perabo as Bale's and Jackman's wives, respectively. But...the surprise to me in this film when I first saw it - and again when I recently re-viewed it - is the performance of Hugh Jackman. This film shows that Jackman is more than just Wolverine - that dude can act. As a magician, he is showing glimpses of being "THE GREATEST SHOWMAN" (but that is another movie for another day) and more than holds his own against a fierce Bale. Finally...special notice needs to be made to the actor who portrays inventor Nikola Tesla - perfectly cast in this role is Ziggy Stardust himself, David Bowie. It's a shame that Bowie did not act in more films for he captures the screen in the brief appearances he makes in this film.
As for Nolan - he is now coming into his own as a Director. The action is fast paced, the twists and turns are "honestly" played, the composition of the pictures on the screen are interesting and beautiful to look at and I walked away satisfied.
If you haven't seen THE PRESTIGE (or if you haven't seen it in awhile) - check this one out. You'll be glad you did.
Letter Grade: A (and...that's a surprise to me, I figured it would be a B+/A- film)
9 (out of 10) stars and you can take that to the Bank (ofMarquis)
Daniel Boyd (1066 KP) rated Mile 22 (2018) in Movies
Sep 20, 2018 (Updated Sep 20, 2018)
The Movie Equivelant of a Shrug
I saw Mile 22 last night and when I got in my dad asked me how it was. I replied with a simple shrug and that is honestly the best way to sum up this movie. It's not bad and it's not great. The worst thing about that is that Peter Berg and Mark Wahlberg have worked together 3 times prior to this movie and all 3 times have resulted in fantastic movies, not mediocre ones like this. I was looking forward to this going in knowing that it was Berg and Wahlberg working together again and I have really liked everything else they have made together, (especially Patriot's Day,) but this is unfortunately the worst film that they have made together so far, but it's still not awful.
The best thing about this film is definitely Iko Uwais. Whenever we get to see him doing his thing on screen, it is electrifying. The issue here though is the way that Jacques Jouffret decided to shoot these sequences is choppy and incoherent at times. Why would you cast one of the best fight choreographers in the world in your movie and then every time he get to fight onscreen, you decided to shake the camera about and make 10+ jump-cuts in the space of a few minutes?
Rhonda Rousey is in the movie too and surprisingly I didn't cringe every time she spoke and instead felt that she did a pretty decent job with what she was given. Lauren Cohen was fine too, we all know that she can do a pretty solid American accent at this point because of her work on The Walking Dead. Wahlberg is perfectly serviceable here too, he has been better in other things, but he also been far worse. It is hard to waste an actor like John Malkovich in a film and yet they manage it here, literally any actor could have played his role.
The end is also pretty rubbish. There is a flimsy twist followed by a sequel tease and then the credits abruptly appear. They are clearly aiming for a sequel, but it would have been nice if they could have tied this movie up a bit better first.
Overall, this is an okay action flick with some cool stunts that doesn't live up to what it could have been and ends too abruptly. There are some cool stunts and satisfying kills in the film, but they could have been shot a lot better.
The best thing about this film is definitely Iko Uwais. Whenever we get to see him doing his thing on screen, it is electrifying. The issue here though is the way that Jacques Jouffret decided to shoot these sequences is choppy and incoherent at times. Why would you cast one of the best fight choreographers in the world in your movie and then every time he get to fight onscreen, you decided to shake the camera about and make 10+ jump-cuts in the space of a few minutes?
Rhonda Rousey is in the movie too and surprisingly I didn't cringe every time she spoke and instead felt that she did a pretty decent job with what she was given. Lauren Cohen was fine too, we all know that she can do a pretty solid American accent at this point because of her work on The Walking Dead. Wahlberg is perfectly serviceable here too, he has been better in other things, but he also been far worse. It is hard to waste an actor like John Malkovich in a film and yet they manage it here, literally any actor could have played his role.
The end is also pretty rubbish. There is a flimsy twist followed by a sequel tease and then the credits abruptly appear. They are clearly aiming for a sequel, but it would have been nice if they could have tied this movie up a bit better first.
Overall, this is an okay action flick with some cool stunts that doesn't live up to what it could have been and ends too abruptly. There are some cool stunts and satisfying kills in the film, but they could have been shot a lot better.
BankofMarquis (1832 KP) rated Rain Man (1988) in Movies
Jun 11, 2020
Hoffman and Cruise pair well together
Some films grow over time, some diminish and others are unfairly maligned. I feel that such is the case with 1988's RAINMAN, the film that won 4 Oscars including Best Director, Actor and Picture. I, too, thought that this film might be "cringe-worthy" in the harsh light of 2020, so it was with some trepidation that we fired it up as my wife's choice for "Secret Cinema" in our house.
I need not have worried for this film, it's themes and performances hold up very, very well more than 30 years later.
Starring Dustin Hoffman and Tom Cruise, RAINMAN tells the story of selfish, self-absorbed, high flying Charlie Babbitt who is shocked to discover that he did not inherit the estate of his estranged father - it went to his brother, Raymond (who Charlie knew nothing about). Finding out that Raymond is autistic, Charlie kidnaps Raymond, figuring he could con his way to his Father's fortune.
The first, most surprising, part of this film is the wonderful chemistry between Cruise and Hoffman. They play off each other very well and seem to have a natural rapport. Hoffman, of course, won the Oscar for Best Actor that year - and it is well deserved, even though some claim that his characterization of Raymond is a "gimmick". I think that is not giving the character - and the performance - it's due, for I found (on this rewatch) that Hoffman's portrayal of Raymond is layered, sensitive and sincere. He builds a character that you want to root for.
The surprise of this film is Cruise's performance as Charlie Babbitt. At the beginning he is playing the "yuppie" jerk quite well - focused only on himself - and his possessions and the money he can make, Charlie is not very likable and is, if I must confess, a bit one-dimensional to start. But something happens along the cross-country road trip that Charlie takes Raymond on - his character (and Cruise's performance) grows and shapes into a fully three-dimensional person that has good traits and bad traits. It is one of Cruise's finest performances - and it is a shame that it was not rewarded with an Oscar nomination.
Director Barry Levinson (Director of the under-rated gem DINER) does a nice job keeping the pace - and the mood - of the film moving forward. This could easily have devolved into an over-sentimental and "schmaltzy" feel good flick, Levinson finds the right balance to make this a "feel good" film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
I need not have worried for this film, it's themes and performances hold up very, very well more than 30 years later.
Starring Dustin Hoffman and Tom Cruise, RAINMAN tells the story of selfish, self-absorbed, high flying Charlie Babbitt who is shocked to discover that he did not inherit the estate of his estranged father - it went to his brother, Raymond (who Charlie knew nothing about). Finding out that Raymond is autistic, Charlie kidnaps Raymond, figuring he could con his way to his Father's fortune.
The first, most surprising, part of this film is the wonderful chemistry between Cruise and Hoffman. They play off each other very well and seem to have a natural rapport. Hoffman, of course, won the Oscar for Best Actor that year - and it is well deserved, even though some claim that his characterization of Raymond is a "gimmick". I think that is not giving the character - and the performance - it's due, for I found (on this rewatch) that Hoffman's portrayal of Raymond is layered, sensitive and sincere. He builds a character that you want to root for.
The surprise of this film is Cruise's performance as Charlie Babbitt. At the beginning he is playing the "yuppie" jerk quite well - focused only on himself - and his possessions and the money he can make, Charlie is not very likable and is, if I must confess, a bit one-dimensional to start. But something happens along the cross-country road trip that Charlie takes Raymond on - his character (and Cruise's performance) grows and shapes into a fully three-dimensional person that has good traits and bad traits. It is one of Cruise's finest performances - and it is a shame that it was not rewarded with an Oscar nomination.
Director Barry Levinson (Director of the under-rated gem DINER) does a nice job keeping the pace - and the mood - of the film moving forward. This could easily have devolved into an over-sentimental and "schmaltzy" feel good flick, Levinson finds the right balance to make this a "feel good" film.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)